First-time director Dan Tanz hangs this low-budget drama on one of the oldest tricks in the independent filmmaker's playbook: to overcome the inexperience of his actors, he has them sit around for most of the movie, then reveals near the end that they're all mourning a shared trauma. When Ingmar Bergman did this in The Passion of Anna (1969), he generated narrative momentum by making his listless characters good conversationalists; Tanz and cowriter Heidi Haaland, keeping their dialogue sparse and flat, generate only monotony. The story concerns the frustrated relationship between two adult sons of a Palestinian refugee--one a dour radio host, the other an irresponsible romantic. Aside from some heartfelt allusions to Palestinian history, there's nothing of interest here.
By Ben Sachs